An Junshan was stunned for a few seconds when he heard Yang Tingyi's words, but of course he who appreciated at least a thousand treasures would not know how to deal with this occasion.

Fortunately, Yang Tingyi raised questions in time, and An Junshan greeted the audience in the next second. "I'm sorry, everyone, because one of our connoisseurs, Master Yang, still has objections to this treasure, so give us a little time."

There will be emergencies on the field, but this is the first time that such an embarrassing sincerity has been held at previous cultural relics exchange conferences.

The master's hand, of course, can almost determine the age of a treasure, but when it comes to accuracy, within a hundred years, or even decades, it is beyond the reach of ordinary connoisseurs.

When testing their eyesight and hand strength, An Lao and Duan Lao did not have this ability, but, in the face of such a fine and perfect painting technique, An Lao and Duan Laoshi were not sure who could copy such a fit, so they ignored it for a while.

But there is a sky outside the sky, there are people in people, and the character Yang Tingyi mentioned just now, Wei Peiji, the master of the Hui School, is a ghost talent in this regard.

The ability to imitate the works of predecessors is 100% similar and difficult to recognize, which is definitely a peculiar function.

Master Yang Tingyi raised doubts, but Wang Tian didn't think it was strange, at least his weirdness had been foreshadowed before. In line with the attitude of being responsible for artworks and cultural relics, it is reasonable for Master Yang to raise objections. On the contrary, what Wang Tian just called more concerned about was the friend Yang Tingyi talked about, Wei Peiji, the master of the Hui School.

If I'm not mistaken, one of the contestants I'm about to face in the final of the drawing contest. is called Tan Xiao, and his master is this demonic character, Wei Peiji. If this is the case, it seems that the final of his own painting contest will really be a bloody storm.

Not only Zhang Guan, but also Shi Youjun's previous rivals, Tao Er, Qiu Changyi, the Japanese Kawashima Ichiro, and even more terrible is this Tan Xiao, who is not amazing. His master is able to imitate the paintings of all celebrities, so realistic that the master can't identify it, Tan Xiaoru has half of him. That's a little demon too.

Appreciation begins again.

At this time, several masters were more focused on the dating of cultural relics.

The achievements of the Bada Shanren's flower and bird painting are particularly outstanding and the most individual.

Most of his paintings are lyrical and use symbolism to express meaning. Personify the object. Put your feelings on your own. Picturesque fish and birds, once made "white eyes to people", expressing cynicism. The dynasties, on its flower and bird painting style, can also be divided into three periods.

Before the age of 50, when Zhu Qi was a monk, he was in the early days, and signed the "Chuanqi", "A Mountain", "Donkey", and "Human House", and painted more vegetables and fruits, flowers, pine and plum and other themes, with volumes as the most. The picture is more delicate and workmanlike. It's very powerful.

Between the ages of 50 and 65, the style of painting gradually changed. Like to paint fish, birds, grass insects, animals, the image is exaggerated, carved with a pen, the beak and eyes of animals and birds are mostly square, the face is ovate, the top is large and the bottom is small, precarious, birds and birds perch on one foot, hang one foot.

After the age of 65, it is a late stage, and art is becoming more and more mature. The gesture becomes Pu Mao majestic, the shape is extremely exaggerated, the eyes of fish and birds circle a little bit, the eyeballs are against the eye circles, a "white eyes to the sky" look.

Some of the birds he painted appear very stubborn, even if there is not much ink, but it shows the birds vibrating their feathers, making people feel that they cannot be touched, and they can fly when they touch it.

Some of the birds are neck-stricken, looking both bullied and unyielding, and they are more concise in composition and brushwork. These images are undoubtedly the portrayal of the painter himself, that is, "indignant and sad songs, sad and angry in the world, and one by one in the pen and ink".

Sensing these differences, An Junshan and Duan Shouhai unexpectedly found something that did not coincide, and this flower and bird drawing was obviously some styles of the middle period of the Bada Shanren.

The image is a bit exaggerated, and the brush is more wonderful.

Combined with the times, the thin atmosphere of the utensils and the feel of the utensils are slightly different from the porcelain of the Bada Shanren period as a whole.

This kind of appreciation is all in the eyes and hands of the masters, and sometimes I really can't tell the big difference in the specific utensils.

This is also the key to being called a master.

However, problems arise.

said that this is not the work of the Bada Shanren, but why did he grasp the work of the Bada Shanren so accurately, as if it came from the original author, which made the master negligent.

An Junshan and Duan Shouhai are also thinking about who completed this work.

According to the chronology, this should be a figure a hundred years after the Bada Shanren, and who is the teacher of the Bada Shanren and comprehends the spirit of his works.

At this moment, Wang Tian, who had withdrawn his thoughts, came to the masters.

"Elder Duan, Elder An, Elder Yang, and Teacher Yu, I don't know if the juniors can say a few words."

Duan Shouhai knew that Wang Tian's connoisseurship skills were good, and he forgot to ask him for his opinion just now. "I was going to ask you just now, why didn't you say your opinion on this flower and bird jar?"

"Yes, Wang Tian, please express your opinion."

An Lao also encouraged himself, and Wang Tianxia seemed very serious for a second. "That's right, the younger generation actually saw a little problem just now, just like Yang Lao said, the age of this work does not seem to be the Bada Shanren period, I think it is the Yang Zhou Eight Monsters period. Wang Tian knew that the Eight Monsters of Yangzhou had inherited the painting style of the Bada Shanren. And the latter's painting has a deep influence on the Eight Monsters of Yangzhou, and I wonder if any of these characters made this work, because all eight of them have the experience of selling paintings for a living, and it is not surprising that they copy a painting of the Bada Shanren. ”

Wang Tian just mentioned that if he really talked about it, it would really hurt the face of all the masters.

As soon as Wang Tian said this, Duan Shouhai really thought that just now he only thought of Zhu Qi's children, but in such a culturally prosperous Kangqian era, the paintings of Bada Shanren have influenced several generations.

That's right, there is one person among the Eight Monsters of Yangzhou whose painting style is close to Zhu Qi, and the birth and death of this one, and the age are all in line with this work. He is none other than the person Wang Tian broke in his heart, Luo Ping. The author of the ghost fun map, Yangzhou Eight Monsters and a Master.

"I guess I know."

Duan Shouhai looked at Wang Tian with some gratitude, because if it weren't for Wang Tian, at this juncture, Duan Lao would really be slapped in the face.

As a leading figure in the connoisseurship world, it is a very bad thing to fall here, and this will also be the sorrow of the connoisseurship world, Wang Tian naturally does not want to see this kind of tragedy happen.

Yang Tingyi also wants to reveal the truth, to be honest, although he knows that this is not the work of Bada Shanren, but who the author is, Yang Tingyi does not know.

But the Bada Shanren mentioned by Wang Tian, Yang Tingyi also felt that it was very reasonable. For a while, Yang Tingyi also looked at this young man with relief, and said in his heart that this guy's appreciation level is good. (To be continued......)